Is the Bay Area Known for Its Theater Scene? Depends on Who You Ask
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Depends on Who You Ask","publishDate":1624529289,"format":"standard","headTitle":"Is the Bay Area Known for Its Theater Scene? Depends on Who You Ask | KQED","labelTerm":{},"content":"\u003cp>Bay Curious listener Alan Kline loves theater. He grew up in Richmond and would often go to shows at the Berkeley Repertory Theatre with his family. Kline was a theater major and now works as a national arts consultant.\u003c/p>\n\u003cp>Before the pandemic he’d go see a show about once a week, favoring smaller theater companies like \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Shotgun Players\u003c/a>, \u003ca href=\"https://goldenthread.org/\">Golden Thread\u003c/a>, \u003ca href=\"http://www.crowdedfire.org/\">Crowded Fire\u003c/a> and \u003ca href=\"http://www.theatreofyugen.org/\">Theatre of Yugen\u003c/a>.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>“You start to see the same faces at everything,” he said. “So I think there definitely is some insularness to audiences in the Bay Area.”\u003c/p>\n\u003cp>He can’t understand why Bay Area residents and tourists aren’t more excited about live theater here. The Bay Area has four Tony Award-winning companies (\u003ca href=\"https://www.act-sf.org/\">The American Conservatory Theater\u003c/a> in 1979, \u003ca href=\"https://www.sfmt.org/\">the San Francisco Mime Troupe\u003c/a> in 1987, \u003ca href=\"https://www.berkeleyrep.org/\">Berkeley Repertory Theatre\u003c/a> in 1997 and \u003ca href=\"https://theatreworks.org/\">TheatreWorks\u003c/a> in Palo Alto \u003ca href=\"https://datebook.sfchronicle.com/theater/theatreworks-wins-regional-theatre-tony-award\">in 2019\u003c/a>), so he’s curious why more people don’t think of San Francisco, and the whole area, as a theater destination. It’s a question that has nagged him for years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The Bay Area is getting notice, but you have to be in the industry. And I don’t understand why that hasn’t permeated more,” Kline said.\u003c/p>\n\u003cp>I ran the question — and its premise — by the San Francisco Chronicle’s theater critic, \u003ca href=\"https://twitter.com/LilyJaniak?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Lily Janiak\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11879132\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11879132\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater.jpg\" alt=\"The Orpheum Theater in San Francisco at night\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Orpheum Theater on Market Street in San Francisco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think there is some validity to that question,” Janiak said. “And I came up with a few hypotheses as to why that might be the case.”\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Competition for tourist interest.\u003c/strong> Janiak points out that San Francisco has beautiful scenery, some of the best food and wine in the world, tons of festivals and great natural areas to explore, not to mention interesting neighborhoods. It offers a lot to tourists, which means going to a show might not be at the top priority like in other cities. Janiak says as a Midwesterner, she knows the value of fun inside activities during the long, cold winter nights. San Francisco doesn’t really have that problem.\u003c/li>\n\u003cli>\u003cstrong>Competition for headlines. \u003c/strong>“We have Big Tech, so they kind of dominate how many headlines can be about the Bay Area in other media outlets around the country and around the world,” Janiak said. Companies like Facebook, Google and Salesforce are changing the ways we interact, work and do business, so they dominate the headlines. That means visitors aren’t necessarily aware of the theater scene here when they visit.\u003c/li>\n\u003cli>\u003cstrong>Redefining terms of success.\u003c/strong> “We as a local art scene need to redefine the terms of our success,” Janiak said. “If a show that originates here is only truly a big deal if it shifts to, and then succeeds financially, in New York, then New York will remain the center of theater.” Janiak recognizes the role her journalism plays in this dynamic. The musical “Ain’t Too Proud: The Life and Times of the Temptations” premiered at Berkeley Rep, got picked up by a New York theater company and was nominated for a Tony award in 2019. “You’d better believe that I’m going to report that news,” Janiak said. “But at the same time, I recognize that by doing so, I’m feeding into the same cycle I just described to you.”\u003c/li>\n\u003cli>\u003cstrong>The financial model.\u003c/strong> Janiak points out that most theater companies depend on loyal subscribers and donors who tend to be older and white. “They are reliable supports,” she said, and “we just don’t give the arts the kind of government support that could truly make theater of, by and for the entire population.Theater jobs also pay notoriously poorly and real estate costs are high. It’s hard for artists to afford the area, even with multiple acting gigs and side jobs. That can be a barrier to entry for new talent that might speak to the entire community, but it also means talent moves away. And theater companies often struggle to find performance spaces they can afford.\u003c/li>\n\u003cli>\u003cstrong>Funding for arts education.\u003c/strong> Janiak says when Proposition 13 passed and tax revenue fell, the state gutted funding for public education in California. “If we funded arts education in our public schools in proportion to how wealthy we are as a state, that would be training not only for future artists but future audiences,” she said. “You’re teaching a whole new generation of folks that theater is fun and thrilling and something for them.”\u003c/li>\n\u003c/ol>\n\u003ch3>Bay Area Artists Chart Their Own Course\u003c/h3>\n\u003cp>I turned to Sean San José, \u003ca href=\"https://www.kqed.org/arts/13898099/two-distinctly-san-francisco-theater-companies-announce-bold-leadership-changes\">the new creative director\u003c/a> for San Francisco’s \u003ca href=\"http://magictheatre.org/\">Magic Theatre\u003c/a> for his take on the question. San José grew up in San Francisco and co-founded Campo Santo in 1996. He’s spent his creative life as an actor, producer, director and playwright here in the Bay Area. He thinks answering Alan’s question depends on perspective and who’s defining “success.”\u003c/p>\n\u003cfigure id=\"attachment_11879135\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003ca href=\"https://www.kqed.org/arts/13898099/two-distinctly-san-francisco-theater-companies-announce-bold-leadership-changes\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11879135\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/BRUJA_SeanSanJose%CC%81_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024-1.jpeg\" alt=\"Sean San José and Sabina Zuniga Varela in Luis Alfaro's Bruja at Magic Theatre. \" width=\"1536\" height=\"1024\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024-1.jpeg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024-1-800x533.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024-1-1020x680.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024-1-160x107.jpeg 160w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sean San José and Sabina Zuniga Varela in Luis Alfaro’s Bruja at Magic Theatre. \u003ccite>((Courtesy of Magic Theatre))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s all elitist, classist, white supremacist-rooted thinking about what is classic, what is good, what is recognized,” San José said. “And clearly a place like the bay that is historically, culturally, aesthetically, so mixed, culturally, so rooted in ‘the other,’ we’re much more interested in plotting our own piece of land rather than sort of creating something so it fits into something to be accepted.”\u003c/p>\n\u003cp>San José says artists come to the Bay Area to push the limits. They’re interested in blurring the lines between types of performance to tell stories that speak to this particular community.\u003c/p>\n\u003cp>“Someone like me or our group, Campo Santo, we’re talking about a thing that responded to, hopefully neighbors and residents,” San José said.\u003c/p>\n\u003cp>He rejects the idea that “good theater” flows from New York or London to the Bay Area. He says that attitude is just more gatekeeping.\u003c/p>\n\u003cp>“The real thing that they’re saying is, ‘I don’t think we’re interested in your Chicano body. I don’t think we’re interested in your gay neighborhood. I don’t think we’re interested in your mixed population,’ ” San José said. “Well, that’s who we are; and those are the stories we’re going to tell.”\u003c/p>\n\u003cp>He says all artists want their work to be seen and appreciated. He’d love for audiences in other cities to see his plays, but that’s not the goal. He’s creating for his community and if the rest of the world doesn’t see the value, oh well. “I think we’re interested in something new and next and that should be celebrated, as opposed to crushed down into an old definition.”\u003c/p>\n\u003cp>And, he says, the creative freedom that happens here radiates out into the world, calling to artists everywhere. It’s impossible to know the impact that has on creators, the inspiration it brings, the haven it provides.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fxe60GVW034\u003c/p>\n\u003ch3>Where Can You Find Out About Bay Area Performances?\u003c/h3>\n\u003cp>One reason Bay Area residents may not express pride in the theater scene here is simply that they don’t know what’s happening any given night. Many local newspapers have cut their arts coverage, making it even more difficult to find out what’s on stage. The big Broadway shows often grab headlines, but there’s tons going on at smaller independent theaters all over the Bay Area.\u003c/p>\n\u003cp>Here are some resources to stay informed as theaters start opening up again.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/category/theater\">KQED’s theater coverage\u003c/a>\u003c/li>\n\u003cli>Follow Lily Janiak’s \u003ca href=\"https://www.sfchronicle.com/author/lily-janiak/\">coverage\u003c/a> and \u003ca href=\"https://twitter.com/LilyJaniak?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Twitter\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://sf.funcheap.com/\">FunCheapSF\u003c/a> has listings of events\u003c/li>\n\u003cli>\u003ca href=\"https://www.theatrebayarea.org/page/retakingthestage\">Theatre Bay Area\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.sfarts.org/\">SF/Arts\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.sfstation.com/theater-performance-arts/calendar/bay-area\">SF Station\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://dothebay.com/\">Do The Bay\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>If you want to support theater and actors as we emerge from the coronavirus pandemic into an uncertain world, Lily Janiak suggests that you pick one local theater company or actor or director that moves you and actively support their work. Go see their plays, donate money, maybe even write a fan letter.\u003c/p>\n\u003cp>“Those small acts of appreciation and devotion are what bolster our art scene,” Janiak said. “And they matter. Artists don’t get them as much as you might think. It will not only make their day, but help feed their next creation.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\n","blocks":[],"excerpt":"Is the Bay Area recognized for its contribution to the performing arts? Depends on who you ask.","status":"publish","parent":0,"modified":1700588227,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":true,"hasPolis":false,"paragraphCount":23,"wordCount":1494},"headData":{"title":"Is the Bay Area Known for Its Theater Scene? Depends on Who You Ask | KQED","description":"Is the Bay Area recognized for its contribution to the performing arts? Depends on who you ask.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Is the Bay Area Known for Its Theater Scene? Depends on Who You Ask","datePublished":"2021-06-24T10:08:09.000Z","dateModified":"2023-11-21T17:37:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"source":"Bay Curious","sourceUrl":"https://www.kqed.org/podcasts/baycurious","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC7395407184.mp3?updated=1624467917","path":"/news/11879038/is-the-bay-area-known-for-its-theater-scene-depends-on-who-you-ask","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Curious listener Alan Kline loves theater. He grew up in Richmond and would often go to shows at the Berkeley Repertory Theatre with his family. Kline was a theater major and now works as a national arts consultant.\u003c/p>\n\u003cp>Before the pandemic he’d go see a show about once a week, favoring smaller theater companies like \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Shotgun Players\u003c/a>, \u003ca href=\"https://goldenthread.org/\">Golden Thread\u003c/a>, \u003ca href=\"http://www.crowdedfire.org/\">Crowded Fire\u003c/a> and \u003ca href=\"http://www.theatreofyugen.org/\">Theatre of Yugen\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“You start to see the same faces at everything,” he said. “So I think there definitely is some insularness to audiences in the Bay Area.”\u003c/p>\n\u003cp>He can’t understand why Bay Area residents and tourists aren’t more excited about live theater here. The Bay Area has four Tony Award-winning companies (\u003ca href=\"https://www.act-sf.org/\">The American Conservatory Theater\u003c/a> in 1979, \u003ca href=\"https://www.sfmt.org/\">the San Francisco Mime Troupe\u003c/a> in 1987, \u003ca href=\"https://www.berkeleyrep.org/\">Berkeley Repertory Theatre\u003c/a> in 1997 and \u003ca href=\"https://theatreworks.org/\">TheatreWorks\u003c/a> in Palo Alto \u003ca href=\"https://datebook.sfchronicle.com/theater/theatreworks-wins-regional-theatre-tony-award\">in 2019\u003c/a>), so he’s curious why more people don’t think of San Francisco, and the whole area, as a theater destination. It’s a question that has nagged him for years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The Bay Area is getting notice, but you have to be in the industry. And I don’t understand why that hasn’t permeated more,” Kline said.\u003c/p>\n\u003cp>I ran the question — and its premise — by the San Francisco Chronicle’s theater critic, \u003ca href=\"https://twitter.com/LilyJaniak?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Lily Janiak\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11879132\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11879132\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater.jpg\" alt=\"The Orpheum Theater in San Francisco at night\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Orpheum Theater on Market Street in San Francisco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think there is some validity to that question,” Janiak said. “And I came up with a few hypotheses as to why that might be the case.”\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Competition for tourist interest.\u003c/strong> Janiak points out that San Francisco has beautiful scenery, some of the best food and wine in the world, tons of festivals and great natural areas to explore, not to mention interesting neighborhoods. It offers a lot to tourists, which means going to a show might not be at the top priority like in other cities. Janiak says as a Midwesterner, she knows the value of fun inside activities during the long, cold winter nights. San Francisco doesn’t really have that problem.\u003c/li>\n\u003cli>\u003cstrong>Competition for headlines. \u003c/strong>“We have Big Tech, so they kind of dominate how many headlines can be about the Bay Area in other media outlets around the country and around the world,” Janiak said. Companies like Facebook, Google and Salesforce are changing the ways we interact, work and do business, so they dominate the headlines. That means visitors aren’t necessarily aware of the theater scene here when they visit.\u003c/li>\n\u003cli>\u003cstrong>Redefining terms of success.\u003c/strong> “We as a local art scene need to redefine the terms of our success,” Janiak said. “If a show that originates here is only truly a big deal if it shifts to, and then succeeds financially, in New York, then New York will remain the center of theater.” Janiak recognizes the role her journalism plays in this dynamic. The musical “Ain’t Too Proud: The Life and Times of the Temptations” premiered at Berkeley Rep, got picked up by a New York theater company and was nominated for a Tony award in 2019. “You’d better believe that I’m going to report that news,” Janiak said. “But at the same time, I recognize that by doing so, I’m feeding into the same cycle I just described to you.”\u003c/li>\n\u003cli>\u003cstrong>The financial model.\u003c/strong> Janiak points out that most theater companies depend on loyal subscribers and donors who tend to be older and white. “They are reliable supports,” she said, and “we just don’t give the arts the kind of government support that could truly make theater of, by and for the entire population.Theater jobs also pay notoriously poorly and real estate costs are high. It’s hard for artists to afford the area, even with multiple acting gigs and side jobs. That can be a barrier to entry for new talent that might speak to the entire community, but it also means talent moves away. And theater companies often struggle to find performance spaces they can afford.\u003c/li>\n\u003cli>\u003cstrong>Funding for arts education.\u003c/strong> Janiak says when Proposition 13 passed and tax revenue fell, the state gutted funding for public education in California. “If we funded arts education in our public schools in proportion to how wealthy we are as a state, that would be training not only for future artists but future audiences,” she said. “You’re teaching a whole new generation of folks that theater is fun and thrilling and something for them.”\u003c/li>\n\u003c/ol>\n\u003ch3>Bay Area Artists Chart Their Own Course\u003c/h3>\n\u003cp>I turned to Sean San José, \u003ca href=\"https://www.kqed.org/arts/13898099/two-distinctly-san-francisco-theater-companies-announce-bold-leadership-changes\">the new creative director\u003c/a> for San Francisco’s \u003ca href=\"http://magictheatre.org/\">Magic Theatre\u003c/a> for his take on the question. San José grew up in San Francisco and co-founded Campo Santo in 1996. He’s spent his creative life as an actor, producer, director and playwright here in the Bay Area. He thinks answering Alan’s question depends on perspective and who’s defining “success.”\u003c/p>\n\u003cfigure id=\"attachment_11879135\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003ca href=\"https://www.kqed.org/arts/13898099/two-distinctly-san-francisco-theater-companies-announce-bold-leadership-changes\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11879135\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/BRUJA_SeanSanJose%CC%81_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024-1.jpeg\" alt=\"Sean San José and Sabina Zuniga Varela in Luis Alfaro's Bruja at Magic Theatre. \" width=\"1536\" height=\"1024\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024-1.jpeg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024-1-800x533.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024-1-1020x680.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024-1-160x107.jpeg 160w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sean San José and Sabina Zuniga Varela in Luis Alfaro’s Bruja at Magic Theatre. \u003ccite>((Courtesy of Magic Theatre))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s all elitist, classist, white supremacist-rooted thinking about what is classic, what is good, what is recognized,” San José said. “And clearly a place like the bay that is historically, culturally, aesthetically, so mixed, culturally, so rooted in ‘the other,’ we’re much more interested in plotting our own piece of land rather than sort of creating something so it fits into something to be accepted.”\u003c/p>\n\u003cp>San José says artists come to the Bay Area to push the limits. They’re interested in blurring the lines between types of performance to tell stories that speak to this particular community.\u003c/p>\n\u003cp>“Someone like me or our group, Campo Santo, we’re talking about a thing that responded to, hopefully neighbors and residents,” San José said.\u003c/p>\n\u003cp>He rejects the idea that “good theater” flows from New York or London to the Bay Area. He says that attitude is just more gatekeeping.\u003c/p>\n\u003cp>“The real thing that they’re saying is, ‘I don’t think we’re interested in your Chicano body. I don’t think we’re interested in your gay neighborhood. I don’t think we’re interested in your mixed population,’ ” San José said. “Well, that’s who we are; and those are the stories we’re going to tell.”\u003c/p>\n\u003cp>He says all artists want their work to be seen and appreciated. He’d love for audiences in other cities to see his plays, but that’s not the goal. He’s creating for his community and if the rest of the world doesn’t see the value, oh well. “I think we’re interested in something new and next and that should be celebrated, as opposed to crushed down into an old definition.”\u003c/p>\n\u003cp>And, he says, the creative freedom that happens here radiates out into the world, calling to artists everywhere. It’s impossible to know the impact that has on creators, the inspiration it brings, the haven it provides.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Fxe60GVW034'\n title='//www.youtube.com/embed/Fxe60GVW034'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Where Can You Find Out About Bay Area Performances?\u003c/h3>\n\u003cp>One reason Bay Area residents may not express pride in the theater scene here is simply that they don’t know what’s happening any given night. Many local newspapers have cut their arts coverage, making it even more difficult to find out what’s on stage. The big Broadway shows often grab headlines, but there’s tons going on at smaller independent theaters all over the Bay Area.\u003c/p>\n\u003cp>Here are some resources to stay informed as theaters start opening up again.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/category/theater\">KQED’s theater coverage\u003c/a>\u003c/li>\n\u003cli>Follow Lily Janiak’s \u003ca href=\"https://www.sfchronicle.com/author/lily-janiak/\">coverage\u003c/a> and \u003ca href=\"https://twitter.com/LilyJaniak?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Twitter\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://sf.funcheap.com/\">FunCheapSF\u003c/a> has listings of events\u003c/li>\n\u003cli>\u003ca href=\"https://www.theatrebayarea.org/page/retakingthestage\">Theatre Bay Area\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.sfarts.org/\">SF/Arts\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.sfstation.com/theater-performance-arts/calendar/bay-area\">SF Station\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://dothebay.com/\">Do The Bay\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>If you want to support theater and actors as we emerge from the coronavirus pandemic into an uncertain world, Lily Janiak suggests that you pick one local theater company or actor or director that moves you and actively support their work. Go see their plays, donate money, maybe even write a fan letter.\u003c/p>\n\u003cp>“Those small acts of appreciation and devotion are what bolster our art scene,” Janiak said. “And they matter. Artists don’t get them as much as you might think. It will not only make their day, but help feed their next creation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"baycuriousquestion","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11879038/is-the-bay-area-known-for-its-theater-scene-depends-on-who-you-ask","authors":["234"],"programs":["news_33523"],"series":["news_17986"],"categories":["news_223","news_28250","news_8","news_33520"],"tags":["news_712","news_20522","news_29614","news_4731"],"featImg":"news_11879070","label":"source_news_11879038"},"news_11774114":{"type":"posts","id":"news_11774114","meta":{"index":"posts_1591205157","site":"news","id":"11774114","score":null,"sort":[1568417846000]},"guestAuthors":[],"slug":"democratic-debate-gig-workers-bill-berkeley-rep","title":"Democratic Debate, Gig Workers Bill, Berkeley Rep","publishDate":1568417846,"format":"video","headTitle":"KQED Newsroom | KQED News","labelTerm":{"term":7052,"site":"news"},"content":"\u003cp>\u003cb>Democratic Presidential Debate\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400;\">Last night, Democratic candidates vying for the 2020 presidential nomination faced off once again for a nationally televised debate. Only 10 of the candidates this time qualified for a prime-time opportunity to make their case, with front-runner Joe Biden sharing the debate stage for the first time with Elizabeth Warren, who has enjoyed a steady rise in the polls since the first debate held in June. Then, California Sen. Kamala Harris memorably attacked Joe Biden for his decades-old opposition to school busing. But this time it was his fellow former Obama Cabinet member, Julian Castro, who made the most personally direct attacks against 76-year-old Biden, including a suggestion that his memory is suffering because of his age. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guests:\u003c/b>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400;\">\u003cspan style=\"font-weight: 400;\">Seema Mehta, political writer, Los Angeles Times\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400;\">\u003cspan style=\"font-weight: 400;\">Joe Garofoli, senior political writer, San Francisco Chronicle\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>From Gig Workers to Rent Control, Legislative Highlights as Session Ends\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400;\">This week, lawmakers in Sacramento passed AB 5, a bill that is sending shock waves through the tech industry, especially ride-hailing services Uber and Lyft that dominate the so-called gig economy. The bill could affect roughly a million gig workers in the state by reclassifying them as employees rather than independent contractors, and entitling them to benefits such as health insurance and a pension. Uber and Lyft, along with the meal delivery service DoorDash, have vowed to spend $90 million to place a ballot measure before voters next year to fight it. Also this week, lawmakers passed for the first time a statewide rent control bill to help millions of tenants, as California grapples with a housing crisis and a surge in homelessness. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guest:\u003c/b>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400;\">\u003cspan style=\"font-weight: 400;\">Marisa Lagos, KQED politics and government correspondent\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Berkeley Rep’s New Season and New Artistic Director\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400;\">On Thursday night, the Berkeley Repertory Theatre will kick off its 51st season with the American premiere of “The Great Wave,” a story of separation and struggle between two sisters that plays out across North Korea and Japan.This season’s lineup of shows will also be helmed by a new artistic director, Johanna Pfaelzer, a New York theater veteran who helped bring to the stage Tony Award-winning productions such as “Hamilton” and “American Idiot.” \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Guest:\u003c/b>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400;\">\u003cspan style=\"font-weight: 400;\">Johanna Pfaelzer, artistic director, Berkeley Repertory Theatre\u003c/span>\u003c/li>\n\u003c/ul>\n\n","blocks":[],"excerpt":"2020 presidential candidate Julián Castro is facing criticism for his attack on former Vice President Joe Biden over his health care policy during Thursday's Democratic debate.","status":"publish","parent":0,"modified":1568836866,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":396},"headData":{"title":"Democratic Debate, Gig Workers Bill, Berkeley Rep | KQED","description":"2020 presidential candidate Julián Castro is facing criticism for his attack on former Vice President Joe Biden over his health care policy during Thursday's Democratic debate.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Democratic Debate, Gig Workers Bill, Berkeley Rep","datePublished":"2019-09-13T23:37:26.000Z","dateModified":"2019-09-18T20:01:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11774114 https://ww2.kqed.org/news/?p=11774114","disqusUrl":"https://ww2.kqed.org/news/2019/09/13/democratic-debate-gig-workers-bill-berkeley-rep/","disqusTitle":"Democratic Debate, Gig Workers Bill, Berkeley Rep","videoEmbed":"https://youtu.be/_3aonnzCfmU","path":"/news/11774114/democratic-debate-gig-workers-bill-berkeley-rep","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Democratic Presidential Debate\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400;\">Last night, Democratic candidates vying for the 2020 presidential nomination faced off once again for a nationally televised debate. Only 10 of the candidates this time qualified for a prime-time opportunity to make their case, with front-runner Joe Biden sharing the debate stage for the first time with Elizabeth Warren, who has enjoyed a steady rise in the polls since the first debate held in June. Then, California Sen. Kamala Harris memorably attacked Joe Biden for his decades-old opposition to school busing. But this time it was his fellow former Obama Cabinet member, Julian Castro, who made the most personally direct attacks against 76-year-old Biden, including a suggestion that his memory is suffering because of his age. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guests:\u003c/b>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400;\">\u003cspan style=\"font-weight: 400;\">Seema Mehta, political writer, Los Angeles Times\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400;\">\u003cspan style=\"font-weight: 400;\">Joe Garofoli, senior political writer, San Francisco Chronicle\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>From Gig Workers to Rent Control, Legislative Highlights as Session Ends\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400;\">This week, lawmakers in Sacramento passed AB 5, a bill that is sending shock waves through the tech industry, especially ride-hailing services Uber and Lyft that dominate the so-called gig economy. The bill could affect roughly a million gig workers in the state by reclassifying them as employees rather than independent contractors, and entitling them to benefits such as health insurance and a pension. Uber and Lyft, along with the meal delivery service DoorDash, have vowed to spend $90 million to place a ballot measure before voters next year to fight it. Also this week, lawmakers passed for the first time a statewide rent control bill to help millions of tenants, as California grapples with a housing crisis and a surge in homelessness. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guest:\u003c/b>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400;\">\u003cspan style=\"font-weight: 400;\">Marisa Lagos, KQED politics and government correspondent\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Berkeley Rep’s New Season and New Artistic Director\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400;\">On Thursday night, the Berkeley Repertory Theatre will kick off its 51st season with the American premiere of “The Great Wave,” a story of separation and struggle between two sisters that plays out across North Korea and Japan.This season’s lineup of shows will also be helmed by a new artistic director, Johanna Pfaelzer, a New York theater veteran who helped bring to the stage Tony Award-winning productions such as “Hamilton” and “American Idiot.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Guest:\u003c/b>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400;\">\u003cspan style=\"font-weight: 400;\">Johanna Pfaelzer, artistic director, Berkeley Repertory Theatre\u003c/span>\u003c/li>\n\u003c/ul>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11774114/democratic-debate-gig-workers-bill-berkeley-rep","authors":["236"],"programs":["news_7052"],"categories":["news_223","news_1758","news_6266","news_1169","news_6188","news_8","news_13"],"tags":["news_26512","news_712","news_26648","news_717","news_3682","news_25830","news_20297","news_19177","news_20562","news_26089","news_4523"],"featImg":"news_11774131","label":"news_7052"},"news_52916":{"type":"posts","id":"news_52916","meta":{"index":"posts_1591205157","site":"news","id":"52916","score":null,"sort":[1326406988000]},"guestAuthors":[],"slug":"interview-jonathan-moscone-on-ghost-light-and-dealing-with-death-of-his-father-george-moscone","title":"Interview: Jonathan Moscone on 'Ghost Light' and Dealing With Death of His Father, George Moscone","publishDate":1326406988,"format":"aside","headTitle":"News Fix | KQED News","labelTerm":{"term":6944,"site":"news"},"content":"\u003cp>Back in July, I wrote this in a post about the world premiere of \u003cem>Ghost Light\u003c/em> at the Oregon Shakespeare Festival:\u003c/p>\n\u003cblockquote>\u003cp>When Some events are so much larger than life that one can really only apprehend them on a grand scale, as part of the sweep of history and not occurrences that turned the lives of actual individuals upside down.\u003c/p>\n\u003cp>Arguably, the assassination of Harvey Milk has become such an event. Over the years, as it's become iconized in documentary, opera, and major motion picture, one begins to understand how the murder of his co-victim, San Francisco Mayor George Moscone, became relegated to almost an after-thought.\u003c/p>\n\u003cp>But if Moscone lives on in the public's consciousness as merely a subset of the Milk story, he plays a much bigger part in the mindset of Jonathan Moscone. He's the \u003ca href=\"http://www.calshakes.org/\">Artistic Director of California Shakespeare Theater\u003c/a> who shares a last name with the former mayor because he happens to be his son.\u003c/p>\n\u003cp>Moscone delves into the effect of his father's death on the 14-year-old boy that he was and the man that he became in \u003ca href=\"http://www.osfashland.org/browse/production.aspx?prod=207\">\u003cem>Ghost Light\u003c/em>\u003c/a>, which he conceived with Berkeley Rep's \u003ca href=\"http://www.berkeleyrep.org/html/abouttherep/staff.html\">Tony Taccone\u003c/a>, who also wrote the script. \u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/01/ghostlight.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/01/ghostlight-300x88.jpg\" alt=\"\" title=\"ghostlight\" width=\"300\" height=\"88\" class=\"aligncenter size-medium wp-image-52932\">\u003c/a>\u003c/p>\n\u003cp>Last night, \u003cem>Ghost Light\u003c/em> opened at \u003ca href=\"http://www.berkeleyrep.org/season/1112/5357.asp\">Berkeley Rep\u003c/a>. Reviews from \u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2012/01/12/DD181MM3KV.DTL\">Robert Hurwitt in the Chronicle \u003c/a>and \u003ca href=\"http://www.mercurynews.com/entertainment-headlines/ci_19728795\">Karen D'Souza in the San Jose Mercury News\u003c/a> are extremely positive.\u003c/p>\n\u003cp>KQED's Cy Musiker interviewed Moscone, who also directed the play, during its Ashland run in July. Moscone talked about his family and the emotions he has had to cope with around his father's death. Parts of the conversation are below; an edited transcript follows each audio clip:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone1fatherpolitics1.mp3\">\u003cstrong>Jonathan Moscone on the eclipsing of his father's death by that of Harvey Milk\u003c/strong> \u003c/a>\u003cbr>\n[audio:http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone1fatherpolitics1.mp3|titles=moscone1fatherpolitics]\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>It seems that your father's story has been eclipsed by his fellow victim and the way that the gay movement has enshrined him. Why should George Moscone's story be told, and why is that only a small piece of this story? \u003c/strong>\u003c/p>\n\u003cp>It's actually the subtext of the entire play, the fact that he has been suppressed in the national consciousness, but also in the consciousness of the boy, the man, the son in the play. A lot of the play is about the fact that he's repressed the kind of mourning that would keep his father alive for him.\u003c/p>\n\u003cp>And I think we as a country, we don't mourn past a certain point. Back in the 1970s when this all happened, it turned pretty quickly into the 80s and Reagan, and the city of San Francisco grew exponentially; developed so fast and it changed its look and face forever. I think what started to submerge is the need for progressive politics, the definition of progressive politics as a necessary response to a status quo that had been running the country. Now progressivism is an extremist term.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c!--more-->\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone2etchsketch.mp3\">\u003cstrong>On the connection of a particular scene to his life as a boy\u003c/strong>\u003c/a>\u003cbr>\n[audio:http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone2etchsketch.mp3|titles=moscone2etchsketch]\u003c/p>\n\u003cblockquote>\u003cp>I went to therapy when I was a kid, before my dad died, actually, and not after. Because I thought he was going to be killed, and I used to freak out and not want him to leave the house. So I remember going to a therapist, and one time I brought my Etch A Sketch with me...no, it was a Spirograph, but that's not an easy prop to get on and off stage and to act with.\u003c/p>\n\u003cp>The iconography of this child's life in the '70s was the Etch a Sketch, the OP shirt, the watching \"Thunderbirds are Go: on TV. That was my childhood. If I were to do any story of a child, I would probably reference those things. The Etch a Sketch was also his way of connecting to a reality that existed before his father died.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone3.mp3\">\u003cstrong>On the main character's self-hatred, and on his grandfather\u003c/strong>\u003c/a>\u003cbr>\n[audio:http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone3.mp3|titles=moscone3]\u003c/p>\n\u003cblockquote>\u003cp>...The character of Jon uses Dan White's gun, the .38 Smith & Wesson, to motivate him into killing off a part of himself that he hates.\u003c/p>\n\u003cp>\u003cstrong>What is that part? \u003c/strong>\u003c/p>\n\u003cp>It's a hundred things. One of them is his self-hatred as a gay man. His anger at losing his dad. The part of himself that's protecting himself. There's a line in the play where Jon admits he always thought it was his mother who was trying to protect herself from grieving so she could hold on to her husband. But he realizes he's the one that's been holding on. And the boy right from the beginning is not going to let go.\u003c/p>\n\u003cp>That seeps into the character, so that 33 years later, what the character has done is create a kind of a shell of a human being that has a lot of self- motivated anger and cynicism and bitterness and incapacity for intimacy, and all that is in the body of a self that needs to be killed.\u003c/p>\n\u003cp>And that is embodied theatrically by his grandfather, whom he doesn't recognize as his grandfather, because -- as in my story -- he never met his grandfather. In fact none of us met my grandfather. He was excised from my parents life from when my father was very young. We never talked about him. All I know about him is that he was a prison guard at San Quentin.\u003c/p>\n\u003cp>I think it might be an apocryphal story about him -- but bringing my dad to San Quentin was one of the instigating reasons for my dad's very strong stand against capital punishment.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone4tombstone1.mp3\">\u003cstrong>On the privacy of pain and the issue of his father's tombstone\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[audio:http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone4tombstone1.mp3|titles=moscone4tombstone]\u003c/p>\n\u003cblockquote>\u003cp>What Tony's done in the play a lot is taken stories that I told him and almost like a psychiatrist translate them into a dramatic idea. Tony asked me what the name of my grandfather is. I answered it, and he called me and said \"you're wrong.\" I said \"really? I had no idea.\"\u003c/p>\n\u003cp>And it's about owning your own. It's so private, so private, and someone gets inside of your own privacy, which is so insinuating. But what else are you going to do when you're not accessing him. Jon refuses to meet (the character of) Basil, so what else is Basil going to do? He 's going to spend hours online researching him and his father.\u003c/p>\n\u003cp>There's a site online called findagrave.com. For real. People can actually find a grave and read a grave site. It's like people who slow down and watch accidents. Why are you watching other people's pain? Why are you watching that happen? Why are you investigating it? It's not yours.\u003c/p>\n\u003cp>And I finally admitted today, as I was looking at the grave site in the play, that I used to be much like Jon's character, kind of angry at my mother, thinking it was inappropriate that it was a small, regular tombstone in Colma.\u003c/p>\n\u003cp>I finally admitted that my mother was onto something. It was kind of a classy move on her part to not erect a statue like Eva Peron or something. It was just about the family. He's got a parking garage and a convention center and a couple of delicatessens and a park named after him. And the place where he died is just about us losing him.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone5memory.mp3\">\u003cstrong>On his lack of knowledge about his father\u003c/strong>\u003c/a>\u003cbr>\n[audio:http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone5memory.mp3|titles=moscone5memory]\u003c/p>\n\u003cp>\u003cstrong>There's a certain jealousy of the character, toward others who perhaps know his father better. How does that work in the character's mind, or how did you experience it? \u003c/strong>\u003c/p>\n\u003cblockquote>\u003cp>There's a documentary film that's being made about my father, and there are people who have been talking about him, and I have been asked questions by the documentarian, and I'm like, \"I have no idea.\"\u003c/p>\n\u003cp>I ran into Phil Bronstein the other night, who covered my dad and knew him, and he was telling me stuff. And I'm like, Phil Bronstein knew this about George? I can barely remember him.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone6bio.mp3\">\u003cstrong>On the inadequacy of the biographical form in narrative works\u003c/strong>\u003c/a>\u003cbr>\n[audio:http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone6bio.mp3|titles=moscone6bio]\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>The play is kind of a memoir but its not. How do you avoid the pitfall that it'll be an act of self-pity to put on this play?\u003c/strong>\u003c/p>\n\u003cp>The head of the stagehands here said to me, \"I thought I was going to hate you, I thought this was going to be some self-indulgent pity party, that it was going to be all about you. And it's not like that at all.\"\u003c/p>\n\u003cp>I'm not the smartest fellow in the world, but I had a really good instinct, that right when (Oregon Shakespeare Festival Artistic Director) Bill Rauch and I first thought of working on this, I knew I needed a colleague, one that was not going to be a subservient chronicler of my story.\u003c/p>\n\u003cp>The only biopic I've ever liked was the movie \u003cem>I'm Not There\u003c/em>. Because it admits it can't ever begin to capture Bob Dylan. Because it's a lie and a fantasy. And I felt at the end that I knew Bob Dylan more than I knew Ray Charles in \u003cem>Ray\u003c/em>or Johnny Cash in \u003cem>Ring of Fire\u003c/em>. In \u003cem>Milk\u003c/em>, there's as much fantasy in that movie as there is fact. And yet it's called Milk. So why is that any truer?\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ghost Light\u003c/em> runs at Berkeley Rep through Feb 19.\u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1326407800,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":40,"wordCount":1690},"headData":{"title":"Interview: Jonathan Moscone on 'Ghost Light' and Dealing With Death of His Father, George Moscone | KQED","description":"Back in July, I wrote this in a post about the world premiere of Ghost Light at the Oregon Shakespeare Festival: When Some events are so much larger than life that one can really only apprehend them on a grand scale, as part of the sweep of history and not occurrences that turned the lives","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Interview: Jonathan Moscone on 'Ghost Light' and Dealing With Death of His Father, George Moscone","datePublished":"2012-01-12T22:23:08.000Z","dateModified":"2012-01-12T22:36:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"52916 http://ww2.kqed.org/news/?p=52916","disqusUrl":"https://ww2.kqed.org/news/2012/01/12/interview-jonathan-moscone-on-ghost-light-and-dealing-with-death-of-his-father-george-moscone/","disqusTitle":"Interview: Jonathan Moscone on 'Ghost Light' and Dealing With Death of His Father, George Moscone","path":"/news/52916/interview-jonathan-moscone-on-ghost-light-and-dealing-with-death-of-his-father-george-moscone","audioUrl":"http://ww2.kqed.org/news/files/2011/07/moscone1fatherpolitics1.mp3","audioDuration":null,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in July, I wrote this in a post about the world premiere of \u003cem>Ghost Light\u003c/em> at the Oregon Shakespeare Festival:\u003c/p>\n\u003cblockquote>\u003cp>When Some events are so much larger than life that one can really only apprehend them on a grand scale, as part of the sweep of history and not occurrences that turned the lives of actual individuals upside down.\u003c/p>\n\u003cp>Arguably, the assassination of Harvey Milk has become such an event. Over the years, as it's become iconized in documentary, opera, and major motion picture, one begins to understand how the murder of his co-victim, San Francisco Mayor George Moscone, became relegated to almost an after-thought.\u003c/p>\n\u003cp>But if Moscone lives on in the public's consciousness as merely a subset of the Milk story, he plays a much bigger part in the mindset of Jonathan Moscone. He's the \u003ca href=\"http://www.calshakes.org/\">Artistic Director of California Shakespeare Theater\u003c/a> who shares a last name with the former mayor because he happens to be his son.\u003c/p>\n\u003cp>Moscone delves into the effect of his father's death on the 14-year-old boy that he was and the man that he became in \u003ca href=\"http://www.osfashland.org/browse/production.aspx?prod=207\">\u003cem>Ghost Light\u003c/em>\u003c/a>, which he conceived with Berkeley Rep's \u003ca href=\"http://www.berkeleyrep.org/html/abouttherep/staff.html\">Tony Taccone\u003c/a>, who also wrote the script. \u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/01/ghostlight.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2012/01/ghostlight-300x88.jpg\" alt=\"\" title=\"ghostlight\" width=\"300\" height=\"88\" class=\"aligncenter size-medium wp-image-52932\">\u003c/a>\u003c/p>\n\u003cp>Last night, \u003cem>Ghost Light\u003c/em> opened at \u003ca href=\"http://www.berkeleyrep.org/season/1112/5357.asp\">Berkeley Rep\u003c/a>. Reviews from \u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2012/01/12/DD181MM3KV.DTL\">Robert Hurwitt in the Chronicle \u003c/a>and \u003ca href=\"http://www.mercurynews.com/entertainment-headlines/ci_19728795\">Karen D'Souza in the San Jose Mercury News\u003c/a> are extremely positive.\u003c/p>\n\u003cp>KQED's Cy Musiker interviewed Moscone, who also directed the play, during its Ashland run in July. Moscone talked about his family and the emotions he has had to cope with around his father's death. Parts of the conversation are below; an edited transcript follows each audio clip:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone1fatherpolitics1.mp3\">\u003cstrong>Jonathan Moscone on the eclipsing of his father's death by that of Harvey Milk\u003c/strong> \u003c/a>\u003cbr>\n\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audio","attributes":{"named":{"label":":http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone1fatherpolitics1.mp3|titles=moscone1fatherpolitics"},"numeric":[":http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone1fatherpolitics1.mp3|titles=moscone1fatherpolitics"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>It seems that your father's story has been eclipsed by his fellow victim and the way that the gay movement has enshrined him. Why should George Moscone's story be told, and why is that only a small piece of this story? \u003c/strong>\u003c/p>\n\u003cp>It's actually the subtext of the entire play, the fact that he has been suppressed in the national consciousness, but also in the consciousness of the boy, the man, the son in the play. A lot of the play is about the fact that he's repressed the kind of mourning that would keep his father alive for him.\u003c/p>\n\u003cp>And I think we as a country, we don't mourn past a certain point. Back in the 1970s when this all happened, it turned pretty quickly into the 80s and Reagan, and the city of San Francisco grew exponentially; developed so fast and it changed its look and face forever. I think what started to submerge is the need for progressive politics, the definition of progressive politics as a necessary response to a status quo that had been running the country. Now progressivism is an extremist term.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c!--more-->\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone2etchsketch.mp3\">\u003cstrong>On the connection of a particular scene to his life as a boy\u003c/strong>\u003c/a>\u003cbr>\n\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audio","attributes":{"named":{"label":":http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone2etchsketch.mp3|titles=moscone2etchsketch"},"numeric":[":http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone2etchsketch.mp3|titles=moscone2etchsketch"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cblockquote>\u003cp>I went to therapy when I was a kid, before my dad died, actually, and not after. Because I thought he was going to be killed, and I used to freak out and not want him to leave the house. So I remember going to a therapist, and one time I brought my Etch A Sketch with me...no, it was a Spirograph, but that's not an easy prop to get on and off stage and to act with.\u003c/p>\n\u003cp>The iconography of this child's life in the '70s was the Etch a Sketch, the OP shirt, the watching \"Thunderbirds are Go: on TV. That was my childhood. If I were to do any story of a child, I would probably reference those things. The Etch a Sketch was also his way of connecting to a reality that existed before his father died.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone3.mp3\">\u003cstrong>On the main character's self-hatred, and on his grandfather\u003c/strong>\u003c/a>\u003cbr>\n\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audio","attributes":{"named":{"label":":http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone3.mp3|titles=moscone3"},"numeric":[":http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone3.mp3|titles=moscone3"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cblockquote>\u003cp>...The character of Jon uses Dan White's gun, the .38 Smith & Wesson, to motivate him into killing off a part of himself that he hates.\u003c/p>\n\u003cp>\u003cstrong>What is that part? \u003c/strong>\u003c/p>\n\u003cp>It's a hundred things. One of them is his self-hatred as a gay man. His anger at losing his dad. The part of himself that's protecting himself. There's a line in the play where Jon admits he always thought it was his mother who was trying to protect herself from grieving so she could hold on to her husband. But he realizes he's the one that's been holding on. And the boy right from the beginning is not going to let go.\u003c/p>\n\u003cp>That seeps into the character, so that 33 years later, what the character has done is create a kind of a shell of a human being that has a lot of self- motivated anger and cynicism and bitterness and incapacity for intimacy, and all that is in the body of a self that needs to be killed.\u003c/p>\n\u003cp>And that is embodied theatrically by his grandfather, whom he doesn't recognize as his grandfather, because -- as in my story -- he never met his grandfather. In fact none of us met my grandfather. He was excised from my parents life from when my father was very young. We never talked about him. All I know about him is that he was a prison guard at San Quentin.\u003c/p>\n\u003cp>I think it might be an apocryphal story about him -- but bringing my dad to San Quentin was one of the instigating reasons for my dad's very strong stand against capital punishment.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone4tombstone1.mp3\">\u003cstrong>On the privacy of pain and the issue of his father's tombstone\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audio","attributes":{"named":{"label":":http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone4tombstone1.mp3|titles=moscone4tombstone"},"numeric":[":http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone4tombstone1.mp3|titles=moscone4tombstone"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cblockquote>\u003cp>What Tony's done in the play a lot is taken stories that I told him and almost like a psychiatrist translate them into a dramatic idea. Tony asked me what the name of my grandfather is. I answered it, and he called me and said \"you're wrong.\" I said \"really? I had no idea.\"\u003c/p>\n\u003cp>And it's about owning your own. It's so private, so private, and someone gets inside of your own privacy, which is so insinuating. But what else are you going to do when you're not accessing him. Jon refuses to meet (the character of) Basil, so what else is Basil going to do? He 's going to spend hours online researching him and his father.\u003c/p>\n\u003cp>There's a site online called findagrave.com. For real. People can actually find a grave and read a grave site. It's like people who slow down and watch accidents. Why are you watching other people's pain? Why are you watching that happen? Why are you investigating it? It's not yours.\u003c/p>\n\u003cp>And I finally admitted today, as I was looking at the grave site in the play, that I used to be much like Jon's character, kind of angry at my mother, thinking it was inappropriate that it was a small, regular tombstone in Colma.\u003c/p>\n\u003cp>I finally admitted that my mother was onto something. It was kind of a classy move on her part to not erect a statue like Eva Peron or something. It was just about the family. He's got a parking garage and a convention center and a couple of delicatessens and a park named after him. And the place where he died is just about us losing him.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone5memory.mp3\">\u003cstrong>On his lack of knowledge about his father\u003c/strong>\u003c/a>\u003cbr>\n\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audio","attributes":{"named":{"label":":http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone5memory.mp3|titles=moscone5memory"},"numeric":[":http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone5memory.mp3|titles=moscone5memory"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>There's a certain jealousy of the character, toward others who perhaps know his father better. How does that work in the character's mind, or how did you experience it? \u003c/strong>\u003c/p>\n\u003cblockquote>\u003cp>There's a documentary film that's being made about my father, and there are people who have been talking about him, and I have been asked questions by the documentarian, and I'm like, \"I have no idea.\"\u003c/p>\n\u003cp>I ran into Phil Bronstein the other night, who covered my dad and knew him, and he was telling me stuff. And I'm like, Phil Bronstein knew this about George? I can barely remember him.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone6bio.mp3\">\u003cstrong>On the inadequacy of the biographical form in narrative works\u003c/strong>\u003c/a>\u003cbr>\n\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audio","attributes":{"named":{"label":":http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone6bio.mp3|titles=moscone6bio"},"numeric":[":http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/07/moscone6bio.mp3|titles=moscone6bio"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>The play is kind of a memoir but its not. How do you avoid the pitfall that it'll be an act of self-pity to put on this play?\u003c/strong>\u003c/p>\n\u003cp>The head of the stagehands here said to me, \"I thought I was going to hate you, I thought this was going to be some self-indulgent pity party, that it was going to be all about you. And it's not like that at all.\"\u003c/p>\n\u003cp>I'm not the smartest fellow in the world, but I had a really good instinct, that right when (Oregon Shakespeare Festival Artistic Director) Bill Rauch and I first thought of working on this, I knew I needed a colleague, one that was not going to be a subservient chronicler of my story.\u003c/p>\n\u003cp>The only biopic I've ever liked was the movie \u003cem>I'm Not There\u003c/em>. Because it admits it can't ever begin to capture Bob Dylan. Because it's a lie and a fantasy. And I felt at the end that I knew Bob Dylan more than I knew Ray Charles in \u003cem>Ray\u003c/em>or Johnny Cash in \u003cem>Ring of Fire\u003c/em>. In \u003cem>Milk\u003c/em>, there's as much fantasy in that movie as there is fact. And yet it's called Milk. So why is that any truer?\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ghost Light\u003c/em> runs at Berkeley Rep through Feb 19.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/52916/interview-jonathan-moscone-on-ghost-light-and-dealing-with-death-of-his-father-george-moscone","authors":["80"],"programs":["news_6944"],"categories":["news_223","news_6188","news_13"],"tags":["news_712","news_1680","news_1679","news_38"],"label":"news_6944"},"news_41896":{"type":"posts","id":"news_41896","meta":{"index":"posts_1591205157","site":"news","id":"41896","score":null,"sort":[1317846637000]},"guestAuthors":[],"slug":"video-rita-moreno-on-her-berkeley-rep-show-and-long-career","title":" Video: Rita Moreno on Her Berkeley Rep Show and Long Career","publishDate":1317846637,"format":"aside","headTitle":"News Fix | KQED News","labelTerm":{"term":6944,"site":"news"},"content":"\u003cp>If you missed the \u003ca href=\"http://www.youtube.com/watch?v=7AJvq4r9aZE\">profile of Rita Moreno\u003c/a> on PBS Newshour last week, it's pretty good. Moreno was interviewed at her home in the Berkeley Hills about her autobiographical Berkeley Rep show, \u003ca href=\"http://www.berkeleyrep.org/season/1112/5334.asp\">Life Without Makeup\u003c/a>, and about her career. The segment provides a good retrospective of her 65 years performing for the stage, screen, and television. (Plus I didn't know she had a romance with Marlon Brando.)\u003c/p>\n\u003cp>The show ends its run on Nov 6.\u003c/p>\n\u003cdiv style=\"text-align: center\">\u003ciframe width=\"480\" height=\"274\" src=\"http://www.youtube.com/embed/7AJvq4r9aZE\" frameborder=\"0\">\u003c/iframe>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003c!--more-->\u003c/p>\n\u003cp>\u003cem>Life Without Makeup\u003c/em>:\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.kqed.org/arts/performance/article.jsp?essid=66814\">Rita Moreno: Life Without Makeup\u003c/a> (KQED Arts)\n\u003c/li>\u003cli>\u003ca href=\"http://articles.sfgate.com/2011-09-10/entertainment/30138049_1_highs-and-lows-brando-rita-moreno\">'Rita Moreno: Life Without Makeup' review: Delight\u003c/a> (SF Chronicle)\n\u003c/li>\u003cli>\u003ca href=\"http://www.berkeleydailyplanet.com/issue/2011-09-21/article/38425?headline=Theater-Review-Rita-Moreno-Life-Without-Makeup-at-Berkeley-Rep\">Theater Review: Rita Moreno: Life Without Makeup at Berkeley Rep\u003c/a> (Berkeley Daily Plant)\n\u003c/li>\u003cli>\u003ca href=\"http://sfist.com/2011/09/09/sfist_reviews_rita_moreno_in_life_w.php\">SFist Reviews: 'Rita Moreno: Life Without Makeup' at Berkeley Rep\u003c/a> (SFist)\n\u003c/li>\u003cli>\u003ca href=\"http://www.playbill.com/news/article/154280-Getting-to-Know-Her-Life-Without-Makeup-Rita-Morenos-Biographical-Show-Opens-Sept-7\">Getting to Know Her: Life Without Makeup, Rita Moreno's Biographical Show, Opens Sept. 7\u003c/a> (Playbill)\n\u003c/li>\u003cli>\n\u003cdiv style=\"text-align: center\">\u003ciframe width=\"480\" height=\"274\" src=\"http://www.youtube.com/embed/hyAklJlx7Qo\" frameborder=\"0\">\u003c/iframe>\u003c/div>\n\u003c/li>\u003c/ul>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1317848345,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":138},"headData":{"title":"Video: Rita Moreno on Her Berkeley Rep Show and Long Career | KQED","description":"If you missed the profile of Rita Moreno on PBS Newshour last week, it's pretty good. Moreno was interviewed at her home in the Berkeley Hills about her autobiographical Berkeley Rep show, Life Without Makeup, and about her career. The segment provides a good retrospective of her 65 years performing for the stage, screen, and","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":" Video: Rita Moreno on Her Berkeley Rep Show and Long Career","datePublished":"2011-10-05T20:30:37.000Z","dateModified":"2011-10-05T20:59:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"41896 http://ww2.kqed.org/news/?p=41896","disqusUrl":"https://ww2.kqed.org/news/2011/10/05/video-rita-moreno-on-her-berkeley-rep-show-and-long-career/","disqusTitle":" Video: Rita Moreno on Her Berkeley Rep Show and Long Career","path":"/news/41896/video-rita-moreno-on-her-berkeley-rep-show-and-long-career","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you missed the \u003ca href=\"http://www.youtube.com/watch?v=7AJvq4r9aZE\">profile of Rita Moreno\u003c/a> on PBS Newshour last week, it's pretty good. Moreno was interviewed at her home in the Berkeley Hills about her autobiographical Berkeley Rep show, \u003ca href=\"http://www.berkeleyrep.org/season/1112/5334.asp\">Life Without Makeup\u003c/a>, and about her career. The segment provides a good retrospective of her 65 years performing for the stage, screen, and television. (Plus I didn't know she had a romance with Marlon Brando.)\u003c/p>\n\u003cp>The show ends its run on Nov 6.\u003c/p>\n\u003cdiv style=\"text-align: center\">\u003ciframe width=\"480\" height=\"274\" src=\"http://www.youtube.com/embed/7AJvq4r9aZE\" frameborder=\"0\">\u003c/iframe>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003c!--more-->\u003c/p>\n\u003cp>\u003cem>Life Without Makeup\u003c/em>:\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.kqed.org/arts/performance/article.jsp?essid=66814\">Rita Moreno: Life Without Makeup\u003c/a> (KQED Arts)\n\u003c/li>\u003cli>\u003ca href=\"http://articles.sfgate.com/2011-09-10/entertainment/30138049_1_highs-and-lows-brando-rita-moreno\">'Rita Moreno: Life Without Makeup' review: Delight\u003c/a> (SF Chronicle)\n\u003c/li>\u003cli>\u003ca href=\"http://www.berkeleydailyplanet.com/issue/2011-09-21/article/38425?headline=Theater-Review-Rita-Moreno-Life-Without-Makeup-at-Berkeley-Rep\">Theater Review: Rita Moreno: Life Without Makeup at Berkeley Rep\u003c/a> (Berkeley Daily Plant)\n\u003c/li>\u003cli>\u003ca href=\"http://sfist.com/2011/09/09/sfist_reviews_rita_moreno_in_life_w.php\">SFist Reviews: 'Rita Moreno: Life Without Makeup' at Berkeley Rep\u003c/a> (SFist)\n\u003c/li>\u003cli>\u003ca href=\"http://www.playbill.com/news/article/154280-Getting-to-Know-Her-Life-Without-Makeup-Rita-Morenos-Biographical-Show-Opens-Sept-7\">Getting to Know Her: Life Without Makeup, Rita Moreno's Biographical Show, Opens Sept. 7\u003c/a> (Playbill)\n\u003c/li>\u003cli>\n\u003cdiv style=\"text-align: center\">\u003ciframe width=\"480\" height=\"274\" src=\"http://www.youtube.com/embed/hyAklJlx7Qo\" frameborder=\"0\">\u003c/iframe>\u003c/div>\n\u003c/li>\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/41896/video-rita-moreno-on-her-berkeley-rep-show-and-long-career","authors":["80"],"programs":["news_6944"],"categories":["news_223"],"tags":["news_712","news_1945"],"label":"news_6944"},"news_13881":{"type":"posts","id":"news_13881","meta":{"index":"posts_1591205157","site":"news","id":"13881","score":null,"sort":[1295915103000]},"guestAuthors":[],"slug":"mike-daisey-monologue-the-agony-and-ecstasy-of-steve-jobs","title":"Interview: Monologist Mike Daisey Discusses \"The Agony and Ecstasy of Steve Jobs\"","publishDate":1295915103,"format":"aside","headTitle":"News Fix | KQED News","labelTerm":{"term":6944,"site":"news"},"content":"\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/01/agonystevejobs1.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/01/agonystevejobs1.jpg\" alt=\"\" title=\"agonystevejobs\" width=\"183\" height=\"122\" class=\"alignleft size-full wp-image-14061\">\u003c/a>Mike Daisey bringing his monologue \u003ca href=\"http://www.berkeleyrep.org/season/1011/4550.asp\">\u003cstrong>\u003cem>The Agony and the Ecstasy of Steve Jobs\u003c/em>\u003c/strong>\u003c/a> to Berkeley Rep is not quite tantamount to someone producing \"Angels in America\" at, like, the Crawford, Texas community theater. But an analogy exists in that Daisey's show delivers a message many in the crowd will simply not want to hear. \u003c/p>\n\u003cp>The show in large part is about working conditions Daisey discovered while visiting the Foxconn manufacturing plant in Shenzen, China. The company, often cited as the world's largest contract manufacturer of electronics, turns out all those Apple iPhones and iPads, as well as products for other manufacturers like Dell. \u003c/p>\n\u003cp>In May, 2010, reports surfaced that 10 Foxconn workers over the since the beginning of the year had \u003ca href=\"http://www.nytimes.com/2010/06/07/business/global/07suicide.html\">killed themselves\u003c/a> amid brutal working conditions \u003c/p>\n\u003cp>The story created a \u003ca href=\"http://www.msnbc.msn.com/id/37510167/ns/business-bloomberg_businessweek/\">public relations headache\u003c/a>, to say the least, for Apple. (For a refutation of the media's portrayal of the Foxconn suicides as a cluster, \u003ca href=\"http://www.zdnet.com/blog/foremski/media-gets-its-facts-wrong-working-at-foxconn-significantly-cuts-suicide-risk/1356\">see here\u003c/a>. Update Jan 25: See \u003ca href=\"http://ww2.kqed.org/news/2011/01/24/mike-daisey-monologue-the-agony-and-ecstasy-of-steve-jobs/#refutation\">below\u003c/a> for a refutation of the refutation that Daisey sent us.)\u003c/p>\n\u003cp>\u003c!--more-->\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From a \u003ca href=\"http://www.mercurynews.com/entertainment/ci_17184600\">\u003cstrong>review\u003c/strong>\u003c/a> of Daisey's show in today's San Jose Mercury News:\u003c/p>\n\u003cblockquote>\u003cp>In this freewheeling theatrical essay, (Daisey) doesn't just hold Jobs' feet to the fire. He doesn't just question the morality of capitalism. He forces theatergoers to take a hard look at the glowing screens in their pockets and ask where they came from and at what cost.\u003c/p>\n\u003cp>Only a true believer, a man who fieldstrips his MacBook Pro down to its 43 components parts to unwind, could be this shocked and heartbroken to find that the gadgets he adores, those glossy pieces of electronic sculpture known as the iPad and the iPhone, might have been produced under brutal working conditions in China...\u003c/p>\n\u003cp>What makes Daisey so addictive as a performer is his ability to fuse snarkiness with sociological insight. He has a gift for lacerating self-exposure that also touches the pulse of the culture. He reveals his foibles at length (and indeed this show may be a tad too long) to illuminate our collective blind spots. This time, it's our fetish for high-tech toys.\u003c/p>\n\u003cp>As an alpha geek who streams Apple keynote speeches while live blogging in his underwear, he knows that the lust for technology is a powerful aphrodisiac for many of us. He understands the sexiness of \"a laptop so thin you could slice a sandwich with it.\" An early adopter, he also feels the tug of nostalgia for dot matrix printers so loud they shook the whole house and those terrifying unhappy Mac faces. Good times. \u003c/p>\u003c/blockquote>\n\u003cp>KQED's Cy Musiker interviewed Daisey on Friday, and it makes for compelling listening. Daisey, who gained access to Foxconn workers by posing as a prospective client of the company, contrasts the grim lives of factory workers to the elegant products created by Apple.\u003c/p>\n\u003cp>\"Rarely are two worlds more divorced that are so integrated,\" Daisey says. \"Our choices of devices are a little bit like a religion...I was a very devout follower of Apple and of technology...the consequence of the trip for me is that I lost my faith. I don't enjoy technology...in the same way (because) I know intimately what went into their creation.\" \u003c/p>\n\u003cp>\"We are obsessed with design,\" Daisey says, \"and then we do everything in our power to have no idea how these things are actually made.\"\u003c/p>\n\u003cp>\"It's an incredible, pathetic disgrace...There's an utter silence over the entire field,\" about the issue.\u003c/p>\n\u003cp>Daisey also discusses what some Apple employees think about the show.\u003c/p>\n\u003cp>Listen here:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/01/Mike-Daisy.mp3\">\u003cem>Cy Musiker interviews Mike Daise\u003c/em>y\u003c/a>[audio:http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/01/Mike-Daisy.mp3] \u003c/p>\n\u003cp>The show is in rep with Daisey's \u003ca href=\"http://articles.sfgate.com/2011-01-14/entertainment/27028331_1_mike-daisey-jean-michele-gregory-money-talks\">\u003cem>The Last Cargo Cult\u003c/em>\u003c/a> until Feb 27 at Berkeley Rep.\u003c/p>\n\u003cp>You may not agree that there is a moral imperative for users of Apple and other company products to insist they are manufactured under humane conditions. But even if you don't, after listening to Daisey's rap those electronic goodies, which so many of us fetishize to some degree, may lose just a little of that come-hither sheen...\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca name=\"refutation\">\u003cem>Update Jan 25:\u003c/em> Mike Daisey himself sends us this \u003c/a>\u003ca href=\"http://www.fakesteve.net/2010/05/our-new-spin-on-the-foxconn-suicide-epidemic.html\">\u003cstrong>post\u003c/strong>\u003c/a> from \u003ca href=\"http://www.fakesteve.net/\">The Secret Diary of Steve Jobs\u003c/a>. Daisey calls it a \"refutation of the \u003ca href=\"http://www.zdnet.com/blog/foremski/media-gets-its-facts-wrong-working-at-foxconn-significantly-cuts-suicide-risk/1356\">refutation\u003c/a>,\" posted above, about the validity of treating the FoxConn suicides as a cluster of significance. The argument being debunked here is that the suicides at Foxconn are well within the national average of China so should not be taken as an indicator of desperate working conditions. From the post:\u003c/p>\n\u003cblockquote>\u003cp>\n...arguments about national averages are a smokescreen. Sure, people kill themselves all the time. But the Foxconn people all work for the same company, in the same place, and they’re all doing it in the same way, and that way happens to be a gruesome, public way that makes a spectacle of their death. They’re not pill-takers or wrist-slitters or hangers. They’re not Sylvia Plath wannabes, sealing off the kitchen and quietly sticking their head in the oven. They’re jumpers. And jumpers, my friends, are a different breed. Ask any cop or shrink who deals with this stuff. Jumpers want to make a statement. Jumpers are trying to tell you something.\u003c/p>\n\u003cp>Also, consider this. Walmart has 1.4 million employees in the United States. Can you remember a time when 10 or 15 Walmart workers jumped to their deaths from the roofs of Walmart stores over the course of a few months? Have you ever heard of Walmart asking employees to sign a no-suicide contract, or putting safety nets up on all of its buildings? If this did happen, would you think maybe something is going on at Walmart? Or would you just say, well, 10 or 15 people out of 1.4 million is still waaaay below the national average?\u003c/p>\n\u003cp>Britain’s National Health Service has 1.3 million employees. Number of suicides last year involving NHS workers jumping from NHS buildings: zero. Indian Railways has 1.6 million employees. Can you recall the last time 10 or 15 of them threw themselves under trains over the course of a few months? Deutsche Post has half a million employees. Ever heard a story about a dozen of them hurling themselves into letter-sorting machines?\u003c/p>\n\u003cp>And yes, France Telecom did have a suicide epidemic last year. Guess what. Nobody went around saying that it was no big deal because it was still below the national average in France — instead the official explanation was that the suicides were caused by brutal management harassing workers. The Sarkozy administration took this seriously and got involved and at France Telecom a top executive actually resigned because of the tragedy.\u003c/p>\u003c/blockquote>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.berkeleyrep.org/multimedia/md_intro.asp\">Video: Mike Daisey introduces shows\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://www.cultofmac.com/why-apple-fanboys-should-see-the-agony-the-ecstasy-of-steve-jobs/78466\">Why Apple Fanboys Should See “The Agony & The Ecstasy of Steve Jobs”\u003c/a> (Cult of Mac)\u003c/li>\n\u003cli>\u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/01/13/DD9D1GQ1HE.DTL\">Q&A with SF Chronicle\u003c/a>\u003c/li>\n\u003c/ul>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1295990090,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1171},"headData":{"title":"Interview: Monologist Mike Daisey Discusses \"The Agony and Ecstasy of Steve Jobs\" | KQED","description":"Mike Daisey bringing his monologue The Agony and the Ecstasy of Steve Jobs to Berkeley Rep is not quite tantamount to someone producing "Angels in America" at, like, the Crawford, Texas community theater. But an analogy exists in that Daisey's show delivers a message many in the crowd will simply not want to hear. The","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Interview: Monologist Mike Daisey Discusses \"The Agony and Ecstasy of Steve Jobs\"","datePublished":"2011-01-25T00:25:03.000Z","dateModified":"2011-01-25T21:14:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"13881 http://ww2.kqed.org/news/?p=13881","disqusUrl":"https://ww2.kqed.org/news/2011/01/24/mike-daisey-monologue-the-agony-and-ecstasy-of-steve-jobs/","disqusTitle":"Interview: Monologist Mike Daisey Discusses \"The Agony and Ecstasy of Steve Jobs\"","path":"/news/13881/mike-daisey-monologue-the-agony-and-ecstasy-of-steve-jobs","audioUrl":"http://ww2.kqed.org/news/files/2011/01/Mike-Daisy.mp3","audioDuration":null,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/01/agonystevejobs1.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/01/agonystevejobs1.jpg\" alt=\"\" title=\"agonystevejobs\" width=\"183\" height=\"122\" class=\"alignleft size-full wp-image-14061\">\u003c/a>Mike Daisey bringing his monologue \u003ca href=\"http://www.berkeleyrep.org/season/1011/4550.asp\">\u003cstrong>\u003cem>The Agony and the Ecstasy of Steve Jobs\u003c/em>\u003c/strong>\u003c/a> to Berkeley Rep is not quite tantamount to someone producing \"Angels in America\" at, like, the Crawford, Texas community theater. But an analogy exists in that Daisey's show delivers a message many in the crowd will simply not want to hear. \u003c/p>\n\u003cp>The show in large part is about working conditions Daisey discovered while visiting the Foxconn manufacturing plant in Shenzen, China. The company, often cited as the world's largest contract manufacturer of electronics, turns out all those Apple iPhones and iPads, as well as products for other manufacturers like Dell. \u003c/p>\n\u003cp>In May, 2010, reports surfaced that 10 Foxconn workers over the since the beginning of the year had \u003ca href=\"http://www.nytimes.com/2010/06/07/business/global/07suicide.html\">killed themselves\u003c/a> amid brutal working conditions \u003c/p>\n\u003cp>The story created a \u003ca href=\"http://www.msnbc.msn.com/id/37510167/ns/business-bloomberg_businessweek/\">public relations headache\u003c/a>, to say the least, for Apple. (For a refutation of the media's portrayal of the Foxconn suicides as a cluster, \u003ca href=\"http://www.zdnet.com/blog/foremski/media-gets-its-facts-wrong-working-at-foxconn-significantly-cuts-suicide-risk/1356\">see here\u003c/a>. Update Jan 25: See \u003ca href=\"http://ww2.kqed.org/news/2011/01/24/mike-daisey-monologue-the-agony-and-ecstasy-of-steve-jobs/#refutation\">below\u003c/a> for a refutation of the refutation that Daisey sent us.)\u003c/p>\n\u003cp>\u003c!--more-->\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From a \u003ca href=\"http://www.mercurynews.com/entertainment/ci_17184600\">\u003cstrong>review\u003c/strong>\u003c/a> of Daisey's show in today's San Jose Mercury News:\u003c/p>\n\u003cblockquote>\u003cp>In this freewheeling theatrical essay, (Daisey) doesn't just hold Jobs' feet to the fire. He doesn't just question the morality of capitalism. He forces theatergoers to take a hard look at the glowing screens in their pockets and ask where they came from and at what cost.\u003c/p>\n\u003cp>Only a true believer, a man who fieldstrips his MacBook Pro down to its 43 components parts to unwind, could be this shocked and heartbroken to find that the gadgets he adores, those glossy pieces of electronic sculpture known as the iPad and the iPhone, might have been produced under brutal working conditions in China...\u003c/p>\n\u003cp>What makes Daisey so addictive as a performer is his ability to fuse snarkiness with sociological insight. He has a gift for lacerating self-exposure that also touches the pulse of the culture. He reveals his foibles at length (and indeed this show may be a tad too long) to illuminate our collective blind spots. This time, it's our fetish for high-tech toys.\u003c/p>\n\u003cp>As an alpha geek who streams Apple keynote speeches while live blogging in his underwear, he knows that the lust for technology is a powerful aphrodisiac for many of us. He understands the sexiness of \"a laptop so thin you could slice a sandwich with it.\" An early adopter, he also feels the tug of nostalgia for dot matrix printers so loud they shook the whole house and those terrifying unhappy Mac faces. Good times. \u003c/p>\u003c/blockquote>\n\u003cp>KQED's Cy Musiker interviewed Daisey on Friday, and it makes for compelling listening. Daisey, who gained access to Foxconn workers by posing as a prospective client of the company, contrasts the grim lives of factory workers to the elegant products created by Apple.\u003c/p>\n\u003cp>\"Rarely are two worlds more divorced that are so integrated,\" Daisey says. \"Our choices of devices are a little bit like a religion...I was a very devout follower of Apple and of technology...the consequence of the trip for me is that I lost my faith. I don't enjoy technology...in the same way (because) I know intimately what went into their creation.\" \u003c/p>\n\u003cp>\"We are obsessed with design,\" Daisey says, \"and then we do everything in our power to have no idea how these things are actually made.\"\u003c/p>\n\u003cp>\"It's an incredible, pathetic disgrace...There's an utter silence over the entire field,\" about the issue.\u003c/p>\n\u003cp>Daisey also discusses what some Apple employees think about the show.\u003c/p>\n\u003cp>Listen here:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/01/Mike-Daisy.mp3\">\u003cem>Cy Musiker interviews Mike Daise\u003c/em>y\u003c/a>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audio","attributes":{"named":{"label":":http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/01/Mike-Daisy.mp3"},"numeric":[":http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/01/Mike-Daisy.mp3"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>The show is in rep with Daisey's \u003ca href=\"http://articles.sfgate.com/2011-01-14/entertainment/27028331_1_mike-daisey-jean-michele-gregory-money-talks\">\u003cem>The Last Cargo Cult\u003c/em>\u003c/a> until Feb 27 at Berkeley Rep.\u003c/p>\n\u003cp>You may not agree that there is a moral imperative for users of Apple and other company products to insist they are manufactured under humane conditions. But even if you don't, after listening to Daisey's rap those electronic goodies, which so many of us fetishize to some degree, may lose just a little of that come-hither sheen...\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca name=\"refutation\">\u003cem>Update Jan 25:\u003c/em> Mike Daisey himself sends us this \u003c/a>\u003ca href=\"http://www.fakesteve.net/2010/05/our-new-spin-on-the-foxconn-suicide-epidemic.html\">\u003cstrong>post\u003c/strong>\u003c/a> from \u003ca href=\"http://www.fakesteve.net/\">The Secret Diary of Steve Jobs\u003c/a>. Daisey calls it a \"refutation of the \u003ca href=\"http://www.zdnet.com/blog/foremski/media-gets-its-facts-wrong-working-at-foxconn-significantly-cuts-suicide-risk/1356\">refutation\u003c/a>,\" posted above, about the validity of treating the FoxConn suicides as a cluster of significance. The argument being debunked here is that the suicides at Foxconn are well within the national average of China so should not be taken as an indicator of desperate working conditions. From the post:\u003c/p>\n\u003cblockquote>\u003cp>\n...arguments about national averages are a smokescreen. Sure, people kill themselves all the time. But the Foxconn people all work for the same company, in the same place, and they’re all doing it in the same way, and that way happens to be a gruesome, public way that makes a spectacle of their death. They’re not pill-takers or wrist-slitters or hangers. They’re not Sylvia Plath wannabes, sealing off the kitchen and quietly sticking their head in the oven. They’re jumpers. And jumpers, my friends, are a different breed. Ask any cop or shrink who deals with this stuff. Jumpers want to make a statement. Jumpers are trying to tell you something.\u003c/p>\n\u003cp>Also, consider this. Walmart has 1.4 million employees in the United States. Can you remember a time when 10 or 15 Walmart workers jumped to their deaths from the roofs of Walmart stores over the course of a few months? Have you ever heard of Walmart asking employees to sign a no-suicide contract, or putting safety nets up on all of its buildings? If this did happen, would you think maybe something is going on at Walmart? Or would you just say, well, 10 or 15 people out of 1.4 million is still waaaay below the national average?\u003c/p>\n\u003cp>Britain’s National Health Service has 1.3 million employees. Number of suicides last year involving NHS workers jumping from NHS buildings: zero. Indian Railways has 1.6 million employees. Can you recall the last time 10 or 15 of them threw themselves under trains over the course of a few months? Deutsche Post has half a million employees. Ever heard a story about a dozen of them hurling themselves into letter-sorting machines?\u003c/p>\n\u003cp>And yes, France Telecom did have a suicide epidemic last year. Guess what. Nobody went around saying that it was no big deal because it was still below the national average in France — instead the official explanation was that the suicides were caused by brutal management harassing workers. The Sarkozy administration took this seriously and got involved and at France Telecom a top executive actually resigned because of the tragedy.\u003c/p>\u003c/blockquote>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.berkeleyrep.org/multimedia/md_intro.asp\">Video: Mike Daisey introduces shows\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://www.cultofmac.com/why-apple-fanboys-should-see-the-agony-the-ecstasy-of-steve-jobs/78466\">Why Apple Fanboys Should See “The Agony & The Ecstasy of Steve Jobs”\u003c/a> (Cult of Mac)\u003c/li>\n\u003cli>\u003ca href=\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/01/13/DD9D1GQ1HE.DTL\">Q&A with SF Chronicle\u003c/a>\u003c/li>\n\u003c/ul>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/13881/mike-daisey-monologue-the-agony-and-ecstasy-of-steve-jobs","authors":["80"],"programs":["news_6944"],"categories":["news_223","news_248"],"tags":["news_712","news_713","news_710","news_301"],"label":"news_6944"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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